Featured Posts

January 23, 2018

There are many ways to do a day for night colour grade. When using DNG and combining the powerful features of the raw tab, I show you how to get the basic look of this theatrical post production tip. Then with power window; elements like headlights, tail lights. glow o...

December 7, 2017

Working with a colourist is an important step in the post production process one that can be over looked.  In this short video, I show you a few important reasons that you would need a colourist in your next video production.  Establishing a look, Working with raw imag...

October 10, 2017

When transferring, your XML from Final Cut 10, all Premier Pro
and Avid. Sometimes not all the files Will come across into your resolve time. This can happen for various reasons. In this video I give you a great workaround in order to complete your timeline before grad...

September 22, 2017

A Grade breakdown of a shot intended for a bespoke outdoor screen in London. In this video I show my complete process on the grade and delivery in Davinci resolve and Premier pro. If if you have any grading requirements please get in touch. info@eightfivetwo.net

August 22, 2017

Just like when you edit natively in DaVinci and you are working with 4K media in a traditional 1080p timeline.  you can encounter similar issues when importing a  time line form an outside NLE

This video is the second video that addresses sizing issues colourist mi...

July 28, 2017

This video will help you understand the quirks of large frame file formats on a 1080 time line.

I show you two of the steps to match your 2k and 4K vision into your timeline. Resolve is only getting  better as an non linear editor.